!I.  The  Music  and  Song  of  the  Ages.. 

By  T.  H.  EoBiNSON,  D.  D.,  Harrisburg,  Pa. 


THE 


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VOL.  XXI— NO.  LXXXIII. 


JULY,  1870. 


GETTYSBURG : 

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EMPORIUM    OF    MUSIC, 

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NO.  LXXXIII. 


JULY,  1870. 


ARTICLE  XL 

THE  MUSIC  AND  SONG  OF  THE  AGES. 
By  T.  H.  Robinson,  D,  D.,  Harrisburg,  Pa. 

"Where  wast  thou  when  I  kid  the  foundation  of  the  earth, 
.•when  the  rnoruing  stars  sang  together,  and  all  the  sons  of 
•God  shouted  for  joy  ?"  Earth's  history  began  in  song.  So 
shall  it  end :  in  the  song  of  that  great  multitude,  that  no 
man  can  number.  Who  shall  stand  by  the  sea  of  glass 
mingled  with  fire,  wearing  the  priestly  robes  of  festival, 
and  victors'  crowns,  and  with  the  harps  of  God  in  their 
hands,  lifting  up  the  undying  chorus  of  a  finished  redemp- 
tion? 

We  purpose  to  follow  the  track  of  song  and  melody, 
from  that  fountain-head  of  song  in  Eden,  along  through 
the  ages,  down  to  our  own  day.  The  field  is,  however,  so 
extensive,  that  we  are  compelled  to  limit  our  investigations. 
Music  and  Song  take  on  three  prominent  types :  1.  of  love, 
and  home,  and  social  life;  2.  of  war;  3.  of  religion.  We 
must  confine  ourselves  mainly  to  the  last. 

The  accents  of  the  first  singers  have  not  reached  us.  Of 
the  modes  of  worship  in  the  old  patriarchal  times,  we 
know  but  little.  But  music  and  song  were  there.  It  was 
surely  not  in  the  city  of  Cain,  that  the  voice, of  singing 


460  Hie  Music  and  Song  of  the  Ages. 

was  heard.  Our  first  father  Kved  long  enough  to  hear  his 
ingenious  sons  piping,  on  harp  and  horn,  their  ante-dilu- 
vian  melodies.  Jubal  was  the  father  of  all  such  as  handle 
the  harp  and  organ.  But,  if  the  tents  of  sin  resounded 
with  unhallowed  music  and  mirth,  surely,  the  abodes  of 
the  righteous  were  not  wholly  silent. 

After  the  universal  hymn  of  Eden  was  broken,  and  the 
joyous  song  of  creation  fell  into  a  mournful  minor,  the 
wail  of  human  sin  and  sorrow  runnintr  across  all  its  har- 
monies,  the  first  golden  wave  of  promise,  that  struck  ou 
the  desolate  heart  of  man,  must  have  re-awakened  the 
echoes  of  the  angels'  song.  Yet  we  are  left  to  conjecture. 
A  long  silence  reigns  in  the  hymn-book  of  the  first  cen- 
turies. There  are  records  of  violence  and  judgment,  of 
the  flood  and  the  ark,  of  patriarchal  tent  and  Egyptian 
bondage,  but  the  only  song  of  that  earliest  age,  that  lias 
floated  down  to  us,  is  the  wail  of  the  murderer  Lamech, 
to  his  wives  Adah  and  Zillah.  We  read  of  altar  and  sac- 
rifice, of  meditations  in  the  field  at  eventide,  of  visions  and 
prayers,  and  accepted  intercessions,  and  we  feel  confident 
that  they,  who  walked  like  Enoch  and  Abraham  with  God, 
must  have  had  their  hearts  kindled  into  music.  The  tents 
of  the  wicked  were  full  of  dancing,  and  mirth,  and  song. 
But  not  these  alone.  The  groves  were  God's  first  tem- 
ples, and  up  through  those  leafy  cathedrals,  rose  the  sim- 
ple lays  of  early  faith,  breathing  amid  the  gray  old  trunks, 
that  high  in  heaven  mingled  their  mo.ssy  boughs,  their 
hopes  of  forgiveness  and  peace.  From  the  green  earth, 
rising  out  of  the  flood,  from  the  ark  lifted  upon  the  wat- 
ers, from  the  shadow  of  the  great  oak  of  Harare,  trom  the 
fountains,  and  valleys,  and  hill-side  pastures,  where  the 
tents  of  the  patriarchs  rose  white  amidst  their  flocks, 
from  the  garrisons  and  palaces  of  Egypt,  doubtless,  the 
sons;  arose,  though  our  ears  listen  in  vain  for  the  echo 
of  it. 

The  first  recorded  hymn  of  the  Bible,  is  the  national 
thanksgiving  anthem,  which  was  sung  on  the  eastern  shore 
ol  the  lied  Sea.  As  the  waves  of  the  sea  rolled  back  to 
their  ancient  tide-mark,  burying  under  them  the  hosts  of 
the  enemies  of  God  and  of  Israel,  above  the  ripple  and 
the  roar  of  the  clashing  waters,  Miriam  and  the  stalely 
maids  of  Judali,  leading  the  voices,  and  the  cymbals,  and 
the  liarps  of  the  vnilHons  of  Israel,  .sang  the  recjuiem  of 
Pharaoh   and   his  Mem))hian  chivalry.     It   was  a  song  of 


77*6  Mtisic  and  Song  of  the  Ages.-  461 

victory.  It  was  a  song  of  redemption.  It  was  sung  to 
the  Lord.  It  was  thus  a  type  of  all  succeeding  Psalrns. 
It  was  the  first  hymn  of  the  Church  visible,  and  the  notes 
of  that  great  chant  of  victory  echoed  along  that  crystal 
sea,  over  the  silent  buried  dead,  out  into  the  stillness  of 
the  desert  around,  down  along  the  track  of  time,  across  all 
the  centuries  to  us,  and  have  gone  sounding  and  echoing 
on  beyond,  far  beyond  us  into  the  depths  of  eternity. 
"Who  is  like  unto  Thee,  O  Lord,  among  the  gods :  who  is 
like.  Thee,  glorious  in  holiness,  fearful  in  praises,  doing 
wonders  ?"' 

From  time  to  time,  throughout  the  Old  Testam.ent,  we 
catch  fresh  notes  of  the  song.  There  is  the  sublime  chant 
of  Deborah  the  prophetess,  and  the  hymn  of  Hannah. 
There  is  the  war  chant  of  Jehoshaphat  and  his  army,  a 
hymn  of  victory,  sung  in  faith  before  the  battle,  sung  with 
harp  and  psalters,  and  trumpet.  There  is  the  song  of 
Hezekiah,  sung  when  he  recovered  from  his  sickness,  and 
the  psalm  of  Jonah,  sounding  up  from  the  depths  of  the 
sea.  There  is  the  mystical  song  of  songs.  The  winter  is 
past,  the  rain  is  over  and  gone,  the  flowers  appear  on  the 
earth,  and  the  time  of  sino-in"'  is  come. 

There  was  mournful  music  by  the  rivers  of  Babylon, 
when  the  taunting  oppressors  said  to  the  captive  of  Judah, 
Sing  us  one  of  the  songs  of  Zion,  and  there  also  was  the 
song  of  liberated  Israel,  when  the  walls  of  Jerusalem  again 
arose,  when  the  singers  sang  aloud,  and  they  all  rejoiced,  so 
that  the  joy  of  Jerusalem  was  heard  afar  off.   And,  there  too, 

■in  that  Book  which  God  has  caused  to  be  written  for  us, 
are  the  songs  of  the  sweet  singers  of  Israel,  the  inspired 
liturgy  for  all  time.  Like  all  other  true  hymns  of  the 
Church  militant,  these  psalms  of  David  rise  out  of  tumul- 
tous depths  and  soar  into  the  calm  light  of  heaven.  They 
are  not  soft  literary  effusions  of  a  sentimental  religion; 

•they  are  battle  songs,  penned  and  sung  on  the  battle-field, 
they  are  the  outbursts  of  a  struggling,  fainting,  hoping 
heart,  they  are  sighs  of  penitence  rising  heavenward,  they 
are  the  very  words,  on  which  the  griefs  of  repenting  sin- 
ners, and  the  joys  of  exulting  believers,  have  taken  wing 
to  God  for  more  than  three  thousand  years.  Thus  passed 
the  Old  Dispensation.  Opening  with  the  song  of  the  morn- 
ing stars,  changing  too  speedily  into  the  wail  of  sorrow  and 
penitence,  yet,  everywhere  flows  the  stream  of  melody, 
gushing  out  of  loving  hearts.     Whether  in  the  temple,  or 


4<62  The  Music  and  Song  of  the  Ages. 

on  tbe  battle-field,  amid  flocks  and  green  pastures,  and  still 
waters,  or  hunted  as  a  stag  upon  the  mountains,  the  true 
Church  ceased  not  to  sing  unto  God.  And  just  as  the 
birth  day  of  the  first  creation  was  ushered  in  by  the  songs 
of  the  angels,  so  the  joy  of  the  second  and  greater  birth 
day,  awoke  the  earth  with  music,  as  the  song  of  a  great 
multitude  of  the  heavenly  hosts  broke  on  the  shepherds 
keeping  watch  over  their  flocks  by  night.  They  came  to 
teach  the  Church  once  again,  the  almost  forgotten  strains 
of  the  first  hymn :    Glory  to  God  in  the  highest. 

The  first  recorded  Jewish  hymn  was  chanted  by  the 
great  Lawgiver  and  by  Miriam,  with  a  nation  for  the 
chorus.  Tbe  first  Christian  hymn  was  sung  by  Mary  the 
mother  of  Jesus,  with  no  audience  but  her  cousin,  the 
faithful  Elizabeth.  Yet  the  thanksgiving  of  Moses  and 
the  magnificat  of  the  Virgin  are  both  alike,  strains  in  the 
one  great  song  of  redemption. 

As  we  follow  the  stream  of  inspired  melody  in  the  New 
Testament,  we  have  the  natal  hymn  of  the  13aptist,  when 
the  seal  was  taken  from  the  lips  of  Zacharias,  and  his  heart 
was  borne  away  in  gladness  over  the  child  of  his  old  age. 
Then,  once  again,  ia  4;hat  temple,  where  for  centuries  no 
fire  from  heaven  had  touched  the  sacrifice,  and  no  gush  of 
inspiration  warmed  the  icy  and  formal  routine  of  the  ser- 
vices, once  again  inspired  song  arose,  not  irom  a  choir  of 
priestly  singers,  but  from  the  lips  of  an  old  man,  who  held 
the  infant  Saviour  in  his  arms.  These  hymns  of  Mary,  of 
Zacharias,  and  of  Simeon,  were  the  matin  songs  of  Chi'isti- 
anity,  all  hymns  of  triumph.  Then  as  we  pass  along,  we 
catch  notes,  now  of  children  singing  in  the  temple,  now  of 
the  great  multitude  with  the  palm  branches,  anon,  a  mourn- 
ful strain  from  the  hymn  of  the  night  of  trial,  then,  after 
the  ascension  of  our  Lord,  we  have  a  choral  burst  of 
praise  from  the  Avhole  assembled  Church,  as  Peter  and 
John  came  back  from  their  night  in  prison.  Then,  from 
the  dungeon  in  Philippi,  we  hear  Paul  and  Silas  singing 
praises  to  God.  After  this  we  hear  no  more,  and  rever- 
ently clo.se  the  sacred  volume,  as  the  songs  of  heaven  are 
falling  from  the  heights  of  apocalyptic  vision,  upon  the 
ear  and  into  the  heart  of  the  beloved  disciple  in  Patmos. 
And  that  new  song,  within  the  gates  of  pearl,  what  is  it 
still,  but  the  song  of  redemption,  which  Moses  and  David, 
and  Mary  and  Simeon,  and  the  early  Church  sang,  the  song 


The  Music  and  Song  of  the  Ages.  463 

^at  every  repenting  sinner,  and  every  bappy  believer  still 
sings,  the  song  of  the  New  Creation. 

We  pass  to  the  second  stage,  the  psalmody  and  music  of  the 
ancient  Christian  Church.  The  Saviour  sang  with  bis  dis- 
ciples, and  the  olive  trees  heard  the  murmured  notes.  The' 
holy  example  thus  set,  was  not  forgotten.  Sacred  song 
continued  to  be  a  delightful  part  of  social  and  public  wor- 
sbip.  From  the  celebrated  letter  of  Pliny  to  the  emperor 
Trajan,  less  than  ten  3rears  after  the  death  of  the  apostle  John, 
we  learn  that  the  Christians,  of  that  time,  were  accustomed 
to  meet  before  day  break,  to  sing  hymns  to  Christ  as  God.  A 
Christian  hymn  book  existed  from  the  beginning.  Two 
or  three  hymns  of  that  remote  antiquity  have  come  down 
to  us.  The  Ter  Scmctus,  or  Thrice  Holy,  the  Gloria  in  Ex- 
celsis  Deo,  and  the  Te  Deum  Laudamus,  with  some  modifica- 
tions,are  preserved  in  Lutheran,  Episcopal  and  Roman  Cath- 
olic Liturgies,  and  are  undoubtedly  very  ancient.  The 
strictest  research,  cannot  find  conclusively,  the  time  of  their 
production.  There  exists  a  tradition,  that  the  Te  Deum^ 
which  is  one  of  the  noblest  and  grandest  of  human  com- 
position.s,  gushed  forth  in  alternate  responses  from  the  lips 
of  two  fathers,  Ambrose  and  Augustine,  while  the  former 
was  baptizing  the  latter.  Another  evening  hymn  is  con- 
sidered by  many  to  be  the  most  ancient  Christian  hymn 
extant.  We  give  it  in  a  translation.  It  should  be  remem- 
bered, that  poetry  in  rhyme  is  of  quite  modern  date.  The 
ancient  hymns  were  sentences,  much  like  our  modern  chants 
and  anthems. 

'  Let  us  imagine  a  little  band  of  persecuted  Christians, 
whom  no  danger  of  enemies  could  deprive  of  the  joys  of 
meeting,  gathered  at  eventide  by  the  side  of  that  river, 
where  the  blessed  apostle  Paul  met  the  first  converts  of 
Greece.  The  sun  is  setting.  The  brief  twilight  is  fast 
fading.  The  glow  of  the  golden  southern  day  is  passing 
rapidly  away,  and  night,  with  its  silence,  dews  and  stars,  is 
coming  on.  From  that  little  band,  faintly,  like  the  chimes 
of  evening  bells,  rises  on  the  evening  air  this  sweet  song:  ' 

Jesus  Christ,  joyful  lig'lit  of  the  Holy, 

Glory  of  the  immortal,  heavenly,  blessed  Father, 

We,  coming  at  the  setting  of  the  sun. 

Beholding  the  evening  light, 

Praise  Thee,  Father,  Son, 

And' Holy  Spirit,  God, 


464  The  Music  and  Song  of  the  Ages. 

Theo,  it  is  meet, 

At  all  hours  to  praise 

"With  sacred  voices,  0  Son  of  God, 

Who  giveth  life. 

Wherefore  the  universe  glorifieth  Thee. 

The  prevailing  mode  of  singing,  for  the  first  three  cen- 
turies, was  congregational.  All  united  their  voices  in  the 
songs  of  praise,  in  strains  suited  to  their  ability.  The  mu- 
sic was,  of  necessity,  rude,  simple  and  inartificial.  It  ap- 
pears to  have  been  but  a  recitative  or  chant,  sung  in  sym- 
phony or  unison.  The  harmony  lay  not  in  the  blending 
of  different  parts,  as  treble,  tenor,  alto  and  bass,  but  the 
blending  of  different  voices  of  men,  women  and  children. 
Nor  should  it  be  forgotten,  how  God  has  made  the  whole 
human  race  a  vast  choir,  where  the  deep  bass  of  a  manly 
voice,  the  tenderness  of  woman's  and  the  varying  tones  of 
the  maiden  and  the  child  all  blend  in  sweetest  harmony. 
The  early  fathers  are  full  and  eloquent  in  praise  of  the 
moral  power  of  their  psalmody.  "Nothing,"  says  Chry- 
sostom,  "so  lifteth  up,  and  as  it  were,  wingeth  the  sonl,  so 
freeth  it  from  earth,  and  looseth  it  from  the  chains  of  the 
flesh,  so  leadeth  it  into  wisdom,  and  a  contempt  for  all 
earthly  things,  as  the  choral  symphony  of  a  sacred  hymn, 
set  in  harmonious  measure."  Augustine  also  gives  an  ac- 
count of  the  power  of  music  over  him,  on  the  occasion  of 
his  baptism  :  "I  was  transported  by  the  voices  of  the  con- 
gregation sweetly  singing.  The  melody  of  their  voices 
filled  my  ear,  and  divine  truth  was  poured  into  my  heart. 
The  sacred  flames  of  devotion  burned  in  my  soul,  and 
gushing  tears  flowed  from  my  eyes.  The  Te  Deum^  which 
was  very  early  sung,  was  at  once  a  hymn,  a  creed,  and  a 
prayer.  It  is  a  creed  taking  Avings  and  soaring  heaven- 
ward. It  is  a  cloud  of  incense  rising  up,  and  reflecting 
back  on  the  earth,  the  radiance  of  the  skies.  The  burden 
of  the  primitive  songs  and  hymns  was  Christ,  the  only  be-, 
gotten  of  the  Father.  This  sacred  theme  inspired  the 
earliest  anthems,  was  the  subject  of  the  sweetest  melodies 
and  loftiest  strains.  They  were  sung  before  the  devotions 
of  the  Church  had  turned  from  Christ  to  Mary.  They 
are  full  of  faith  in  a  personal  listening  Saviour,  as  a 
living,  gracious,  miglity  and  beloved  Friend.  In  publio 
devotions,  in  social  circles,  around  their  domestic  altars 
they  worshiped  Christ,  in  happy  sacred  song.     In  their 


The  Music  and  Song  of  the  Ages.  465 

daily  occupations,  they  relieved  their  toils  and  refreshed 
their  spirits,  by  renewing  the  favorite  songs  of  Zion.  Per- 
secuted, afUicted,  in  solitary  cells,  exiled  to  foreign  lands, 
shut  up  in  dismal  mines,  hiding  away  in  caves,  led  to  the 
martyr's  stake,  they  still  sang  the  Lord's  Song.  Some  of 
these  hymns  are  so  true  and  tender,  so  sublime  in  their 
simplicity,  so  full  of  the  sweet  repose  of  faith,  and  of 
lowly,  happy  adoration,  that  we  love  to  think  of  them 
as  hymns,  to  which  Paul  and  John  may  have  listened,  may 
have  sung. 

We  pass  on  down  the  stream  of  time.  We  have  already 
said  the  earliest  Church  music  was  simple  and  inartificial, 
congregational  singing  in  symphony.  About  this  time, 
the  third  century,  some  heretical  sects  arose  along  side  of 
the  Church,  that,  in  order  to  draw  the  people  after  them, 
paid  great  attention  to  music  and  hymnology.  To  sup- 
plant the  popular  hymns  of  the  heretics,  and  to  provide 
singing  that  should  rival  theirs,  many  orthodox  hymns 
were  written,  and  the  office  of  Cantores,  or  Psaltai,  i.  e., 
conductors  of  the  service  of  praise,  was  instituted,  and 
choirs' gradually  came  into  vogue.  The  practice  of  alter- 
nate, or  responsive  singing  was  common.  The  Church 
began  to  put  off  its  early  simplicity,  and  develop  into  a 
hierarchy.  The  clergy,  thus  early,  were  rising  into  a  des- 
potism in  the  Church,  and  they  sought  to  exclude  the  peo- 
ple from  all  participation  in  the  services  of  worship.  Con- 
gregational singing  was  banished,  the  clergy  and  the  choir 
taking  the  singing  into  their  own  hands.  Great  attention 
began  to  be  paid  to  the  requirements  of  art,  and  the  com- 
mon people  were  bidden  to  be  silent.  The  character  of 
the  music  rapidly  changed.  Secular  and  theatrical  melo- 
dies were  introduced  into  the  churches.  As  yet,  the  use 
of  instrumental  accompaniments,  was  tenaciously  resisted, 
and  the  singing  in  different  parts  was  not  allowed.  As 
early  as  the  year  330,  a  school  for  the  training  of  profes- 
sional church  musicians,  was  opened  in  Eome.  In  the 
heat  of  the  great  Arian  controversy  of  the  fourth  century, 
bands  of  orthodox  and  Arian  choristers  were  formed  to 
perambulate  the  streets  of  Constantinople,  singing  hymns 
upon  the  rival  doctrines,  in  imitation  of  the  processional 
singing  of  the  pagans.  This  was  done  to  indoctrinate  the 
people.  It  was  at  this  period,  that  Ambrose,  of  Milan, 
arose  in  western  Europe,  and   introduced  a  new  kind  of 

Vol.  XXL    No.  83.         60 


466  The  Music  and  Song  of  the  Ages. 

Psalmody,  the  Cantus  Avihrosianus,  or  Ambrosian  CliaQt'v 
For  modulation,  aptness  and  beauty,  it  far  surpassed  any- 
thing that  had  yet  been  known.  It  is  very  difficult  at  this' 
day,  perhaps,  wholly  impossible  to  reproduce  anything  in 
the  exact  style  of  one  of  those  ancient  chants. 

If  we  turn  from  the  music  to  the  hymns  of  that  age,  we 
begin  to  discover  some  sad  changes,  creeping  silently  and 
stealthily  in.  The  fervent,  tender,  childlike  hymns  of  the 
first  three  centuries,  that  only  spoke  of  Jesus,  the  Saviour,- 
the  Friend,  the  Master,  the  merciful,  loving,  holy  Sufferer 
for  us,  begin  already  to  be  displaced  by  hymns  commeinor- 
ative  of  martyrs  and  just  men  ;  hymns  that  speak  of  the 
Virgin  mother,  hymns  for  feast  days  and  fjxst  days.  As 
yet,  indeed,  the  name  of  Jesus  is  above  every  name ;  as 
yet,  the  martyrs  and  saints  of  heaven  seem  to  be  sitting  on 
the  steps  only  of  his  glorious  throne,  but  the  whole  order 
of  the  Church  begins  to  turn  its  face  from  Christ,  towards- 
his  creatures.  The  trust  in  the  Lamb  of  God  alone,  dies 
silently  out  of  them,  giving  way  to  invocations  of  Mary. 

We  now  approach  the  middle  ages,  the  ages  of  chivalry 
and  the  crusades,  of  massive  Gothic  architecture  and  the 
feudal  system.  But  just  before  we  reach  that  strange  and 
wonderful  age  of  everything  romantic,  of  heroes  and  hero- 
ines., we  pass  through  a  border-land,  filled  with  troubadours 
and  love  sougs,  knio;hts  errant  and  tournaments,  of  rich 
wild  border  minstrelsy — a  laud  full  of  legends,  the  heroic 
age  of  a  false  Christianity,  as  the  age  of  Hector  and  Priam 
was  the  heroic  age  of  Troy  and  Greece.  The  heroes  of 
the  age  are  canonized  saints,  and  they  are  an  army  counted 
and  memoralized  by  tens  of  thousands.  Passing  across 
the  stage  before  our  eyes  as  we  look  back  on  the  age,  we 
behold  the  motliest  group  of  all  the  centuries,  emperors 
and  kings,  popes  and  cardinals,  prefects  and  dukes,  monks 
and  nuns,  consuls  and  counts,  peers  and  paladins,  caliphs 
and  empresses,  troubadours  and  rhetoricians,  the  demoa 
Minerva  and  the  saint  lihadegunda,  with  other  demons 
and  other  saints  innumerable,  moving  about  amongst  each 
other,  with  all  that  eas}'  familiarity,  with  which  the  stran- 
gest beings  are  mingled  in  our  wildest  dreams.  These 
were  the  golden  days  of  legend,  yet  they  were  days  of  dis- 
order and  wretchedness  extreme.  Wild  Gothic  hosts  were 
plundering  Lombardy  and  Gaul.  Northern  pirates  were  in- 
vading and  desolating  England,  and  all  the  shores  of  Europe* 
A  fierce  torrent  af  Vandal  and  Saracen  swelled  up  from  the' 


The  Music  and  Song  of  the  Ages.  467 

©outh.  The  wretched  population  were  tossed  helplessly  to  and 
fro.  Rival  popes  and  rival  bishops  sought  each  other  with  very 
'Carnal  weapons,  and  fulminated  at  each  other  terrible  bulls. 
The  imperial  institutions  of  Eome  had  crushed  out  the  old 
national  republican  life,  and  now,  these  in  their  turn,  were 
crumbling  into  dust.  Many  thoughtful  men,  during  these 
centuries,  from  the  seventh  to  the  eleventh,  believed  they 
were  the  last  days.  In  the  beginning  of  the  seventh  cen- 
tury, Gregory  the  Great,  the  Pope  of  Eome,  introduced 
into  the  churches  a  new  style  of  Church  music.  Already 
processions,  in  which  the  Gospels,  costly  crucifixes  and 
banners,  torches  and  burning  candles,  relics,  bits  of  the 
true  cross,  pictures  and  bones  of  the  saints,  were  carried 
about  and  hymns  sung,  had  become  a  regular  ceremony, 
occurring  at  stated  times.  The  litanies  consisted  of  invo- 
cations of  saints  and  angels,  to  which  the  people  made  re- 
sponse, Ora  pro  7iobis,  which  was  the  extent  of  their  sing- 
ing. Gregory  undertook  to  reform  the  music  of  the 
Church,  which  had  degenerated  into  a  style  too  lively,  and 
theatrical  and  sentimental  for  Church  music.  He  intro- 
duced what  has  been  known  from  his  day  to  the  present, 
as  the  Gregorian  Chant,  or  the  Cantus  Bomanus.  The 
music  was  symphonous,  slow,  solemn,  and  measured,  yet 
without  rythm  or  time.  He  devised  a  special  kind  of  no- 
tation to  indicate  the  tones,  a  curious  compound  of  points 
and  strokes,  and  little  hooks.  It  had  little  of  the  liveli- 
ness and  the  freshness  of  the  music  then  in  vogue,  but 
from  its  more  solemn  and  dignified  character,  was  better 
adapted  for  worship.  It  was  sung  by  trained  choirs. 
Sino'ing  schools  were  established,  to  introduce  the  new 
chanting  and  fit  choirs,  and  the  Pope,  Gregory  himself, 
taught  in  them.  Instrumental  accompaniments  were  in- 
troduced, especially  the  organ,  which  was  transferred  from 
the  theatre  to  the  church.  It  was,  however,  quite  a  seri- 
ous objection  to  the  Gregorian  music,  that  on  account  of 
its  complicated  character,  a  good  proficient  in  music  could 
scarcely  master  it  by  diligence  and  skill,  in  less  than  ten 
years.,  But  a  few  professional  singers  could  bear  part  in  ■ 
it.  The  common  people  were  utterly  excluded.  It  was 
enough  for  them  to  listen.  An  ecclesiastical  ban  lay  upon 
them.  The  Anti-phonarium,  or  hymn  book,  was  taken 
wholly  out  of  their  hands,  and  retained  by  the  priests  and 
choristers.  A  hymn  book  is  a  dangerous  weapon  to  priest- 
craft and  absolutism,  when  put  in  the  hands  of  the  people. 


468  The  Music  and  Song  of  the  Ages. 

"Let  me  write  the  songs  of  a  nation,"  some  one  has  said, 
"and  I  care  not,  who  make  their  laws."  An  unsinging  and 
unmusical  and  unpoetic  people,  are  fit  only  to  be  the  slaves 
of  civil  and  hierarchical  despotism. 

The  Gregorian  style  of  music  could  not  maintain  itself. 
It  was  too  difficult.  Trained  and  competent  singers  were 
too  few.  The  hymn  books  were  too  expensive.  The  slow 
chant  in  unison,  began  gradually  to  give  way  to  more 
rapidly  moving  duets.  Definite  rules  of  harmony,  of 
chords  and  intervals,  were  framed.  The  organ  came  gen- 
erally into  use.  The  first  one  brought  to  France,  was  a 
present  from  the  emperor  of  Turkey  to  king  Pepin.  The 
second,  was  a  present  to  Charlemagne  the  great.  The  first 
organs  were  very  imperfect.  They  had  only  ten  or  twelve 
notes,  and  the  keys  required  to  be  struck  with  the  fist. 

As  we  leave  the  times  of  Charlemagne,  Bernard  and  the 
venerable  Bede,  and  walk  forward  into  the  denser  darkness 
of  the  middle  age,  the  character  of  music  and  hymns 
changes  still  further.  The  music  becomes  more  and  more 
dramatic.  The  cathedral  is  transformed  into  a  theatre,  in 
which  priests  and  monks  and  nuns  are  the  actors,  and  the 
people,  the  astonished,  captivated  audience.  Dramas  were 
acted  on  Sundays  and  holy  days,  in  which  noble  men  and 
beautiful  women,  saints  and  holy  virgins,  were  represented 
as  in  conflict  with  power,  cruelty  and  fate.  And,  whereas, 
the  modern  drama  usually  ends  with  a  marriage  of  the 
hero  and  the  heroine,  the  religious  dramas  of  the  mediaeval 
age  lauded  the  hero  in  some  monkery,  and  the  heroine  in 
some  nunnery,  as  if  that  were  the  earthly  end  of  human  ex- 
istence. Thus,  the  Christian  Church  became  both  the 
theatre  and  the  temple  of  the  people.  These  religious 
dramas  were  acted  out  with  all  the  scenic  preparation  of 
the  stage,  and  became  a  powerful  rival  for  any  regular  and 
professedly  worldly  entertainments.  When,  at  length,  in 
order  to  increase  their  power  and  popularity,  the  actors 
appealed  to  the  passions,  degenerated  the  tragedy  into 
comedy,  and  mingled  with  the  most  sacred  subjects  coarse 
buftbonery  and  unrestrained  fun,  indignant  and  insulted 
religion  could  bear  it  no  longer,  and  with  a  whip  of  cords 
drove  it  out,  as  Christ,  the  buyers  and  sellers  of  the  an- 
cient temple. 

Let  us  introduce  you  into  one  of  the  cathetlrals  of  those 
ages,  and  to  the  worship  of  the  gathered  assembly.  'J'he 
iffline.nse  and  glorious  building  is  itself  a  solemn  sounding 


The  Music  and  Song  of  the  Ages.  '       469 

psalm.  As  one  enters  the  massive  archway  of  the  door, 
and  looks  forward,  a  solemn  awe  falls  upon  him.  The 
building  recedes  away  in  long  narrow  avenues,  and  rises 
in  its  roof  to  a  majestic  height.  Its  almost  interminable 
length  vanishes  away  in  most  graceful  prospective,  as  if 
leading  the  worshiper  onward  into  some  Holy  of  Holies. 
Stately  divisions,  with  countless  chapels,  successions  of 
concentric  arches,  crossing  and  intermingling,  the  aven- 
ues lined  with  symmetrical  pillars,  the  heavy  massive  walls 
expanding  into  large,  mullioned  and  stained  windows,  or 
concealed  by  paintings  of  the  masters,  the  niches  crowded 
with  statues  of  worshipful  saints,  and  array,  above  all  ris- 
ing as  if  into  the  very  heavens,  the  vaulted  roof  formed  of 
most  simple,  yet  intricate  ribs.  The  entire  structure  is 
arranged  to  inspire  awe  and  reverence.  And  when  the 
music  of  the  7'e  Deum,  on  some  grand  and  massive  organ 
is  struck,  it  soars  upward,  pervades  the  whole  building, 
echoes  and  re-echoes,  infinitely  multiplying  itself,  as  it  dies 
and  rises  again  to  the  fretted  and  lofty  roof,  and  the  incense 
curling  up  into  the  unmeasurable  height,  mingled  with  the 
echoing  music,  might  well  give  to  the  enthusiastic  beholder 
the  notion  of  clouds  of  adoration  finding  their  way  to  hea- 
ven. In  such  a  temple  what  space  for  endless  variety,  for 
change  of  scene,  for  stage  effect !  How  effective  the  light 
and  shade  even  by  daylight,  how  much  more  so  heightQn- 
-ed  at  night  by  an  infinity  of  lamps,  and  torches  and  tapers, 
now  pouring  their  full  effulgence  on  some  one  object — the 
Christ  on  the  cross — or  a  painting  of  angels  on  the  walls, 
and  now  sending  their  feeble  glimmering  into  the  deep 
gloom  of  the  recesses,  arches  and  roof  In  such  a  place  a 
vast  congregation  is  assembled.  They  are  ignorant,  i^uper- 
stitious,  impressible.  The  drama  for  this  Sabbath  is  "The 
Massacre  of  the  Innocents."  Amid  the  deep  reverberat- 
ing tones  of  the  organ,  a  procession  of  innocents,  children 
clothed  in  white  robes,  march  in  long  lines,  through  the 
long  cloister  of  the  monastery,  chanting  as  they  go  :  How 
glorious  is  Thy  Kingdom  !  Send  down,  0  God,  Thy  Lamb! 
The  Lamb  immediately  appears,  a  man  with  a  banner, 
bearing  in  his  arms  a  lamb,  takes  his  place  at  their  head, 
leading  up  and  down  the  aisles  in  long  gleaming  procession. 
Herod,  clad  in  all  the  splendors  of  barbaric  and  oriental 
attire,  is  seen  seated  on  a  throne  near  by.  A  squire  ap- 
pears and  hands  him  his  sceptre,  chanting:  "On  the  throne 
of  David."     In  the  meantime  an  angel,  in  the  person  of 


470      '  Tlie  Music  and  Song  of  the  Ages. 

one  of  the  monks,  alights  upon  the  manger  singing,  Jo- 
seph, Joseph,  Joseph,  tliou  son  of  David,  take  thou  the 
child,  and  flee  into  Egypt.  Weep  not,  0  Egypt !  Herod's 
armor  bearer  steps  forward  and  informs  him  of  the  depar- 
ture of  the  wise  men,  whereat  he  bursts  into  a  great  wrath. 
While  he  is  raging,  the  children,  representing  the  Inno- 
cents of  Bethlehem,  are  still  following  the  steps  of  the 
lamb,  and  sweetly  chanting:  "Oh  Lamb,  who  by  thy  holy 
death  for  us,  glory  of  the  Father,  glory  of  the  Virgin." 
Herod  delivers  the  fatal  sword  into  the  hands  of  the  armor 
bearer.  The  lamb  is  silently  withdrawn.  The  children 
remain  in  their  fearless  and  happy  innocence,  singing,  "Hail 
Lamb  of  God,  O  hail !"  The  cry  of  mothers  is  now  heard, 
imploring  mercy.  The  children  are  slain  and  fall  in  the 
aisles.  While  they  are  dying,  and  while  they  lie  dead, 
another  angel  descends,  chanting,  "Ye  Avho  dwell  in  the 
dust,  awake  and  cry  aloud."  The  dead  innocents  respond 
as  if  from  the  tomb  :  "Why,  0  God,  dost  not  thou  defend 
us  from  bloodshed !"  The  angels  chant  in  response : 
"Wait  but  a  little  time,  till  your  number  is  full." 
Then  enters  Eachel,  weeping  for  her  children,  and  re- 
fusino;  to  be  comforted.  The  musical  dialooue  between 
her  and  her  attending  women,  is  simple,  wild  and  pa- 
thetic :  "Alas,  alas,  alas,  how  shall  1  rejoice,  while  I 
behold  these  slain  ?  iVo//,  FiV/70  Rachel,  noli,  dulcissima 
mater — Kestrain,  0  Eachel,  sweet  mother,  thy  tears 
of  grief  from  the  necks  of  these  little  ones."  As  they 
lead  ofl'  the  sad  mother,  an  angel  hovering  above,  sings 
the  antiphone,  or  response  :  Suffer  little  children  to  come 
unto  me.  At  this  voice  the  children  rise  from  the  tombs, 
the  ai.sles,  enter  the  choir,  and  take  up  the  triumphant  song 
of  Heaven.  Herod  disa]ipears.  Archelaus  takes  the  throne. 
The  angel  is  heard  summoning  Joseph  from  Egypt.  Jo- 
seph comes  forward,  chanting  a  hymn  to  the  Virgin  moth- 
er. The  cantor  of  the  Church  intones  the  71'  JJeiwi,  the 
massive  organ  sends  its  pealing,  trembling,  thundering 
tones  through  aisles,  and  recesses,  and  arches,  up  to  the 
vaulted  roof,  and  the  whole  va.st  cathedral  rings  with  the 
harmony,  and  as  it  cea.ses,  the  awe-struck,  profoundly  agi- 
tated hearers  retire  silently  from  the  scene. 

It  will  easily  be  seen  from  this  brief  episode,  with  what 
spirit  and  wonderful  effect  sacred  repesentations  were  given 
in  the  Middle  ages.  There  was  no  event  of  sacred  his- 
tory, however  solemn,  that  was  not  in  this  manner  wrought 


The  Music  and  Song  of  the  Ages.  471 

into  action  for  the  purpose  of  impressiog  the  ignorant  peo- 
ple and  tightening  the  chains  of  spiritual  despotism. 

As  we  pass  to  consider  the  characteristics  of  the  hyran& 
of  those  ages,  one  painfully  impressive  fact  meets  us  at 
the  outset,  that  a  full,  swelling  tide  of  Mariolatrj  flows 
through  them.  They  worshiped  and  served  the  creature 
more  than  the  Creator.  There  are  a  few  hymns  to  God 
the  Father,  a  few  to  Christ,  but  the  general  mass  are  invo- 
cations to  Mary  and  the  saints.  The  worship  of  Mary 
was  the  grand  characteristic  worship,  and  it  had  gathered 
to  itself  the  warmest  affections  of  the  heart.  In  the  ear- 
liest hymns  a  trace  of  this  is  visible.  It  stole  insensibly 
into  the  Church.  Her  first  lustre  was  natural.  As  mother 
of  Jesus  she  must  stand  chief  among  women.  Out  of  this 
gradually  grew  the  loftier  title.  Mother  of  God,  with  which 
she  was  early  honored.  Then  another,  wide-spread  and 
pernicious  practice  contributed  to  swell  the  tide  of  Mariol- 
atry,  and  the  adoration  of  Mar}?,  the  Mother  of  God,  was  ab- 
sorbed in  that  of  St.  Mary  the  virgin.  Gradually,  one  title 
after  another  was  lavished  upon  her.  Tradition  dressed  her 
earthly  life  in  a  false  history,  wove  a  gorgeous  robe  around 
her  "that  hid  the  lowly  and  feminine  life  of  the  true  Mary, 
and,  instead  of  the  meek  and  humble  form  and  quiet  spirit 
that  meets  us  in  the  Gospel,  there  stands  before  us  in  the 
Mediaeval  hymns,  a  queen;  arrayed  in  vulgar  gold  and 
earthly  jewels,  a  glittering,  tinselled  goddess,  as  magnifi- 
cent as  any  Venus  or  Minerva  of  old.  The  piety  and  re- 
ligion of  the  age  lived,  luxuriated  in  these  hymns.  Mary 
usurped  the  place  of  her  divine  Son,  nor  his  alone,  but  of 
the  whole  Trinity.  The  love  of  God  the  Father  was  for- 
gotten in  the  tenderness  of  Mary,  Mother,  Queen  of  heaven. 
The  Kedeeming  sorrows  of  Christ,  the  Son,  were  eclipsed 
by  the  sympathetic  sorrows  of  the  pierced  heart  of  Mary. 
The  consolations  of  the  Comforter  were  cold  beside  the 
pity  of  Mary,  sweet  virgin,  star  of  the  sea.  The  relations 
of  the  three  persons  of  the  Godhead,  were  transferred  to 
her.  She  was  Mother,  Intercessor  and  Comforter — a  trin- 
ity in  unity  for  the  Church.  The  first  lispings  of  the 
child,  the  morning  and  evening  hymn,  the  cry  of  the  dis- 
tressed, and  the  thanksgiving  of  the  rescued,  were  all  for 
Mary.  Century  after  century  added  stones  to  the  altar  of 
her  superstitious  worship,  until  she  who  was  once  known 
only  as  a  joyful  mother,  with  the  infant  Jesus  in  her  arms, 
stood  on  the  facade  of  all  the  churches,  and  in  the  hearts 


472  Tlie  Music  and  Song  of  the  Ages. 

of  all  the  worshipers  a  crowned  queen,  her  hands  out- 
stretched to  bless,  concentrating  upon  her  person,  all  the 
glory  of  the  Trinity  above,  and  all  the  adoration  of  hu- 
manity below  !  Yet,  out  of  the  chaos,  and  darkness,  and 
superstition  of  the  middle  ages,  and  their  religion,  there 
are  occasional  gleams  of  light.  As  to  the  old  voyager,  iu 
the  vast  interminable  ocean,  if  he  beheld  on  some  dreary 
mass  of  rock,  a  batch  of  living  green,  a  tuft  of  graceful 
trees,  a  cool  and  musical  rush  ot  waters,  it  became  at  once 
a  paradise,  and  is  described  as  one  of  the  elysian  liclds,  so 
does  one  feel,  who,  traversing  the  dreary  wastes  of  the  me- 
diaeval age,  so  full  of  legends,  of  spiritual  and  sentimental 
love  songs,  of  Mariolatry  and  priest-craft,  of  comedies  on 
sacred  things,  hears  suddenly,  he  scarcely  knows  whence, 
a  single  voice,  rising  low  and  trembling,  so  soft  and  low, 
that  it  is  scarcely  heard  at  first,  yet  gathering  clear,  and 
deep,  and  sonorous,  till  it  echoes  down  the  arches  as  an 
organ,  and  rolls,  vibrating  the  whole  heart  of  Christendom 
with  the  solemn  and  magnificent  chant  of  the  great  Me- 
di;\ival  hymn,  the  Dies  Irae — a  lyric  that  lifts  one  up,  as 
on  mighty  wings. 

Our  next  stage  brings  us  into  the  great  Reformation, 
the  richest  field  of  all  the  past  in  music  and  song.  One 
of  the  first  symptoms  of  that  great  awakening  was  the  re- 
vival of  a  taste  and  a  demand  for  religious  songs  in  the 
vernacular  tongue.  Heretofore  the  singing  had  been  con- 
fined to  the  clergy  and  the  choir  and  the  Latin  language. 
It  was  in  the  fifteenth  century  and  during  the  Hussite 
movement  that  useful  popular  hymns  were  for  the  first 
time  introduced  into  the  service  of  the  Church.  Their 
introduction  was  facilitated  by  two  strange  instruments, 
first  by  the  minne-singers,  or  love-singers,  who  perambu- 
lating the  country,  and  singing  their  love  ditties,  gave  the 
people  a  thirst  for  singing  :  and  secondly,  by  a  body  of 
fanatics,  called  flagelants,  who  in  long  trains,  with  laces 
covered,  wandered  from  country  to  country,  amid  weeping 
and  lamentations,  and  the  chant  of  penitential  hymns,  con- 
tiuually  applying,  as  they  marched,  the  scourge  to  their 
naked  backs.  They  grew  in  numbers  like  an  avalanche, 
and  passed  through  a  large  part  of  Europe.  Their  strange, 
wild  hymns,  in  the  native  tongue,  seized  the  hearts  of  the 
people,  and  paved  a  way  for  the  psalm  of  the  Reformation. 
Huss  insisted  on  the  people  taking  part  in  the  service  of 
song,  and  himself  composed  a  number  of  excellent  hymns. 


The  Music  and  Song  of  the  Ages.  473 

At  first,  so  difficult  was  it  to  abandon  the  Latin,  we  find  a 
number  of  hymns,  half  Latin  and  half  German.  Congre- 
gational singing  was  again  revived.  The  ancient  Ambro- 
sian  psalmody,  in  a  purer  and  richer  form,  was  given  to 
the  people.  The  choir  of  priests  was  dissolved.  Instead 
of  solo  monotonous  singing  in  uniform  loud  notes  of  equal 
value,  a  copious  rythm  with  lively  modulations  was  sub- 
stituted, and  about  the  close  of  the  fifteenth  century,  sing- 
ing in  parts,  took  the  place  of  singing  in  unisoa.  The  air 
was  sung  by  the  congregation,  and  the  singers  in  the  choir 
accompanied  the  congregation  in  the  several  parts.  The 
air,  however,  was  set  in  tenor,  which  was  the  leading  part 
of  music.  The  tunes  were  obtained  by  modifying  old 
tunes,  by  appropriating  national  airs  of  the  middle  ages, 
and  using,  without  reserve,  the  rich  treasure  of  song-tunes 
in  popular  use.  Many  of  the  hymns  were  parodies  of  sec- 
ular songs,  the  love  songs  of  the  minne-singers.  Thus, 
the  popular  ditty,  sung  by  wandering  apprentices,  which 
commenced :  Inspruck^  I  must  leave  thee,  and  go  my 
lonely  way,  far  hence,  to  foreign  lands,"  was  transfonmed 
into  :  "O  world,  I  must  leave  thee,  and  go  my  lonely  way, 
unto  my  Father's  Home."  When  Luther  composed  his 
melodies,  the  people  were  taught  them  by  traveling  musi- 
cians, singing  processions  of  school  boys  and  city  cornet- 
teers.  The  Papal  Church  sought  to  prevent  the  singing. 
But,  wherever  the  spirit  of  the  Ecformation  went,  there 
flowed  the  torrent  of  song.  The  demand  for  hymns  and 
music  was  sudden,  and  the  result  of  no  visible  design.  It 
almost  preceded  the  labors  of  the  Reformers,  and  did 
more  than  preaching  to  inculcate  religious  truth.  Europe, 
almost  in  an  instant,  was  full  of  songs  and  singing,  as  if 
an  epidemic  had  broken  out.  The  rise  of  the  phenome- 
non in  the  Reformed  Churches  was  remarkable.  Clement 
Marot,  a  valet  of  the  bed  chamber  of  king  Francis  the 
first,  and  the  favorite  poet  of  France,  tired  of  the  vanities 
of  the  reigning  poetry,  and  tinctured  slightly  with  Pro- 
testantism, applied  to  his  friend  Theodore  Beza,  for  assist- 
ance in  rendering  David's  Psalms  into  French  rhymes. 
This  was  in  1540.  The  amorous  ditties  of  Marot  had 
been  the  delight  of  the  French  Court.  He  dedicated  his 
version  of  the  Psalms  to  the  ladies  of  France,  and  apolo- 
gized for  presenting  such  an  oft'eriug  to  their  taste.  It 
seems  with  him  to  have  been  a  mere  freak  of  poetic  license, 
Vol.     XXI.     No.  83.        61 


474  The  Music  and  Song  of  the  Ages. 

an  experiment.     But  the  most  sanguine  Reformer  could 
not  have  indulged  anticipations  equal  to  the  reality.     Hia 
previous  contributions  to  the  polite  literature  of  tlie  day 
were  forgotten  in  the  enthusiasm,  with  wliich  the  court  of 
France  received  these  versions  from  the  Hebrew  Psalter. 
The  press  was  burdened  to  meet  the  demand.     All  classes 
were  eager  to  purchase.     In  the  festive  and  splendid  court 
of  France,  of  a  sudden,  nothing  was  heard  but  the  Psalms 
of  Clement  Marot.     They  were  the  accompaniment  of  the 
fiddle,  if  not  of  the  dance.  The  members  of  the  royal  family, 
high-born  ladies  and  lords,  would  each  select  a  psalm,  and 
fit  it  to  the  ballad  which  each  liked  best.     They  were  the 
fashion,  the  rage,  and  did  not  seem  at  all  to  interfere  with 
the  humor  and  gaiety  of  the  Court.     It   was  a  strange 
sight,  the  Psalms  of  David  turned  into  ballads,  and  sung 
in  gay  and  royal  assemblies,  in  the  place  of  love  songs. 
But  the  Providence  of  God  was  in  it.     Just  at  this  time, 
Luther  in  Germany,  and  Calvin  in  Geneva,  were  looking 
about  for  poets  to  translate  the  whole  of  the  Psalms  of  Da- 
vid into  the  common  tongue,  that  Christian  people  might 
have  something  to  sing.     Calvin,  at  once  availed  himself 
of  Marot's  gallantry  to  the  ladies  of  France,  and  intro- 
duced the  poet's  versions  from  the   Psalter,  into  the  Re- 
formed Church  of  Geneva.     On  any  particular  Sunday  of 
1540,  might  have  been  heard  the  noble  lords  and  ladies  of 
his  most  Catholic  majesty  Francis  I,  and  the  humble  con- 
gregation of  the  great  heretic  John  Calvin,  singing  the 
same  words  out  of  the  new  psalm  book  of  Clement  Marot. 
The  fashion  of  the  court  was  short-lived.     Not  so  the  sing- 
ing of  the  people.     They  had  never  before  been  allowed 
to  sing.     The  Scriptures  had  been  shut  up  in  a  dead  lan- 
guage.    Now  they  were  released.     The  efi'ect  was  electric. 
Hymns  and  music  were  both  received  with  unbounded  en- 
thusiasm.    France  and  Germany  were  infatuated  with  a 
love  of  psalm-singing.     Nowhere  did  the  new  mania  take 
such  a  hold  of  the  national   mind,  as  in  Germany.     The 
miner's  son,  Martin,  who,  in  his  school  days,   had   caroled 
for  bread,  before  the  doors  of  the  burghers  of  Fisenach, 
remembered  the  old  melodies,  and  when  the  people  asked 
him  for  the  Bread  of  Life,  he  gave  forth  out  of  his  treas- 
ure-house, things  new  and  old.     The  great  Reformer  of 
the  German  Church,  was  also,  her  first  great  singer.     Lu- 
ther gave  the  German  people  their  Hymn  Book,  as  well  as 
their  Bible.     His  enthusiasm   is  well  known.     He  gath- 


The  Music  and  Sonj  of  the  Ages.  475 

•ered   up  the  best  of  the  old  hymns,  had  them  transferred 
to  the  tongue  of  the  people,  wrote  new  hymns,  and  com- 
posed the  music  to  some  of  them.     So  popular  were  his 
hymns,  that  spurious  collections  were  hawked  about  Ger- 
many under  his  name.     The  hymn  was  the  great  power  of 
the   Reformation    upon   the    masses  of   the   people.      In 
Augsburg,  in  1551,  three  or  four  thousand  people,  singing 
together  at  a  time,  was  but  a  trifle.     Poets  arose  every- 
where.    One  Hans  Sachs  was  the  author  of  no  less  than 
six  thousand  hymns,   and  their  poets  are  numbered  by 
hundreds.     A  hymn  had  scarcely  gushed  from  the  heart 
of  a  poet,  until  it  spread  everywhere,  penetrated  families 
and  churches,  was  sung  before  every  door,  in  work  shops, 
market  places,  streets  and  fields,  and  with  a  single  stroke  of 
a  popular  hymn,  whole  cities  were  won  to  the  Evangelical 
faith.     The  youth  of  the  day  sang  them  in  place  of  the 
ribald  songs.     Mothers  sang  them  beside  the  cradle,  ser- 
vants in  the  kitchen,  market  men  in  the  streets,  and  farm- 
ers in  the  fields.     The  Papacy  was  terrified  by  the  religi- 
ous singing   mania.      Psalm-singing  and  heresy  became 
synonymous  terms.     All  good    Catholics  were  forbidden, 
under  penalties,  to  try  their  voices  on  the  heretic  psalms. 
The  new  system  passed  over  into  England,  and  here,  too, 
the  people  became  jubilant.     The  Eefugees,  whom  Mary 
had  driven  to  the  continent,  when  Elizabeth  a.scended  the 
throne,  came  back  trained  and  enthusiastic  psalm-singers. 
The  enemy  characterized  the  eagerness  of  the   people,  as 
an  infectious  frenzv.     The  sinsino-  bes;an  in  a  little  church 
of  London,  but  soon  after  at  St.  Paul's  Cross,  six  thous- 
and persons  of  all  ages,  might  be  heard  singing  the  new 
songs,  "which,"'  said  Bishop  Jewel,  "was  sadly  annoying 
to  the   mass   priests  and  the  devil."     Puritanism,  then  in 
its  infoncy,  throbbed  with  the  popular  exhilaration.     The 
use  of  Psalmody  became  the  badge  and  test  of  sympathy 
with  the  Eefornuition.     As  psalm-singing  and  heresy  were 
synonymous  on  the  continent,  so  psalm-singing  and  Puri- 
tanism were  in  England.    The  Psalms  in  the  vulgar  tongue 
were  stigmatized  as  "Geneva  Jiggs,"  and  "Beza's  Ballets," 
but  they  soon  became,  in  fact,  the  ballads  and  war  songs 
of  the   nation.     The   proclamation   against  the  queen   of 
Scots,  in  London,  158G,  was  received  with  the  ringing  of 
bells,  making  of  bonfires,  and  singing  of  psalms,  in  every 
one  of  the  streets'and  lanes  of  the  city.     The  forces  of  the 
Parliament,  in   Marston   Cornfield,  fell  to  singing  psalms, 


47C  Tlie  Music  and  Song  of  the  Ages. 

and  after  the  battle  of  Dunbar,  tbo  republican  soldiers  and 
their  General  Lambert  halted  near  Haddington,  and  sang 
the  117th  Psalm.  Cromwell's  soldiers  were  nick-named 
the  Psalm  singers.  A  comedy  of  the  times  re})resents 
the  Eoundheads  as  being  used  to  sing  a  Psalm  and  then 
fall  on. 

As  in  the  morning  of  some  bright  summer  day,  the 
choristers  of  field  and  grove  make  earth  and  air,  and  all 
things  tremulous  with  their  melody,  so  when  the  glorious 
morning  of  the  Keformation  dawned,  there  poured  almost 
instantaneously  from  the  lips  and  hearts  of  a  great 
chorus  of  song,  such  as  the  age  had  never  heard.  Out  of 
the  walls  of  the  cloister,  out  of  the  work-shop,  ihe  harvest 
field,  the  home,  came  they;  hymns  for  family  joys  and  sor- 
rows, h^^mns  for  toil  and  struggle,  hymns  for  the  sick  bed 
and  the  wayside,  and  hymns  for  battle,  ringing  with  the 
inspiring  step  of  martial  music;  songs  to  march  to,  songs 
to  fight,  blasts  from  the  trumpet,  before  which  the  strong- 
holds of  the  enemy  fell. 

A  quaint  old  writer  of  the  seventeenth  century  gives 
us  his  idea  of  the  singing  in  England,  in  that  day.  He 
•was  in  York,  at  the  time  of  the  famous  siege  of  eleven 
weeks.  He  tells  us  :  "Every  Sunday  the  Old  Minster  was 
even  cramming  and  squeezing  full,  and  sometimes  a  can- 
non bullet,  not  a  one  hundred  and  eighty  pounder  of  our 
day,  has  come  in  at  the  windows,  and  bounced  about  from 
pillar  to  pillar,  even  like  some  furious  fiend,  or  evil  spirit. 
]3ut  now  you  must  take  notice,  that  they  had  then  a  cus- 
tom in  that  church,  which  I  hear  not  in  any  other  cathe- 
dral, which  was,  that  always  before  the  sermon,  the  whole 
congregation,  with  the  choir  and  organ,  sang  a  psalm,  and 
you  must  know,  that  there  was  a  most  excellent,  large, 
plump,  lusty,  full-speaking  organ,  which  cost,  I  am  credi- 
bly informed,  a  thousand  pounds.  This  organ,  I  say  when 
the  Psalm  was  sung  before  the  sermon,  being  let  out  into 
all  the  fulness  of  stops,  together  with  the  choir  began  the 
Psalm.  But  when  that  vast  concording  unity  of  the 
whole  congregational  chorus  came,  as  1  may  say,  thunder- 
ing in,  even  so  as  it  made  the  very  ground  shake  under 
us,  Oh!  the  unutterable  and  javishing  soul's  delight,  in 
which  1  was  transported  and  wrapt  up  lu  higli  contempla- 
tion, so  that  there  was  no  room  lelt  in  body,  soul,  and 
si)irit,  lor  au^'thing  below  divine  and  heavenly  rajitui'cs." 

Wo  have  been  lisleniug  to  the  njuruiurs  of  the  great 


The  Music  and  Song  of  the  Ages.  477 

stream  of  song,  as  it  has  flowed  on  from  age  to  age,  some- 
times nearly  buried  in  the  sands  of  time,  and  now  again 
bursting  the  barriers  of  centuries  in  a  rush,  a  torrent  of 
music,  and  then  again  flowing  on  calmly  in  a  broad,  deep 
current,  yet  never  utterly  dried  up,  or  silent.  The  deepest, 
purest  life  of  man,  the  inmost  piety  of  the  Church,  has 
flowed  on  in  hymns.  He  who  knows  the  way,  hymns  and 
music  have  flowed,  can  trace  the  veins  and  arteries,  in  which 
the  blood  of  piety  has  flowed.  We  have  caught  echoes 
from  the  ancient  sanctuary,  from  Miriam's  peal  of  victory, 
from  the  hymns  that  the  early  Christians  sang  to  Christ 
before  day-break,  hymns  of  burial,  sung  in  the  crypts  of 
the  Catacomb.-?,  where  young  men  and  maidens,  old  men 
and  children,  were  laid  away  to  rest.  We  have  had 
hymns  of  the  martyrs,  sung  by  hunted  worshipers,  at  mid- 
night, in  dens  and  caves  of  the  earth,  amidst  armed  men, 
in  ambush,  by  prisoners  in  dungeons  and  in  flames.  We 
have  caught  notes  from  the  hymns  of  St.  Ambrose,  and 
many  others,  that  rose  up  like  birds  in  the  early  centuries, 
and  have  come  flying  and  singing  all  the  way  down  to  us, 
and  still  with  voices  as  strong  and  sweet  as  they  were  a 
thousand  years  ago.  We  have  heard  the  battle  songs  of 
the  Church,  Crusaders'  hymns,  that  rolled  forth  their  truths 
upon  the  Oriental  air,  while  a  thousand  horses'  hoofs  kept 
time  below,  and  ten  thousand  palm  leaves  whispered  and 
kept  time  above,  hymns  of  the  Huguenots,  of  the  Cove- 
nanters and  Puritans,  hymns,  that,  as  with  the  pinions  of 
eagles,  have  borne  up  to  the  bosom  of  God  the  sorrows, 
the  desires,  and  the  aspirations  of  his  poor  and  oppressed 
children  on  earth,  hymns  that  have  gushed  out  of  pressed 
and  broken  hearts,  as  fountains  out  of  cleft  rocks. 

The  great  battle  song  of  the  Lutheran  Church,  Luther's 
Eine  fesle  Burg — a  Tower  of  Safety  is  our  God — is  said  to 
have  come  into  the  heart  of  the  Reformer  on  his  way  to 
the  Diet  of  Worms.  Both  it,  and  the  battle  song  of  Gus- 
tavus  Adolphus,  the  lofty  Christian  hero  of  his  age,  were 
consecrated  for  all  time  by  a  memorable  incident,  worthy 
of  all  honor. 

On  the  morning  of  his  last  battle,  when  the  armies  of 
Gustavus  and  Wallenstein  were  drawn  up,  waiting  for  the 
morning  mist  to  clear  away,  ere  they  sounded  the  charge, 
the  king  commanded  Luther's  grand  hymn  to  be  sung, 
then  his  own,  accompanied  with  the  trumpets  and  drums 
of  the  whole  array.      As  they  ceased  singing,  the  mist 


478  TJic  Music  and  Song  of  the  Ages. 

broke  away,  and  the  sunshine  burst  on  the  two  armies. 
For  a  moment,  Gustavus  knelt  beside  his  horse,  in  the 
face  of  his  soldiers,  and  repeated  his  battle-prayer :  "O 
Lord  Jesus  Christ,  bless  our  arms,  and  this  day's  battle, 
for  the  glory  of  thy  holy  name."  Then,  passing  along  the 
lines  with  a  few  brief  words  of  encouragement,  he  gave 
the  battle  cry,  "6rO(:Z  with  ms,"  with  which  he  had  conquer- 
ed at  Leipzig,  and  rushed  on  the  foe.  In  the  thickest  of 
the  fight  he  Avas  found,  bleeding  with  a  death  wound,  but 
from  the  d3'ing  lips  of  the  martyr,  fell  these  noble.  Chris- 
tian words  :  "I  seal  with  my  blood  the  liberty  and  the  re- 
ligion of  the  German  nation."  Thus,  have  the  hymns  of 
the  past  been  embalmed  for  us.  We  cannot  gather  up  all 
the  precious  names  of  men,  out  of  whose  hearts  the  dear 
Cross  pressed  the  living  songs  of  the  Church;  St.  Ephrem, 
Ambrose  and  Gregory,  Luther,  Gerhardt  and  Tersteegen, 
gentle  George  Herbert,  borne  to  his  grave  with  cathedral 
chants,  blind  John  Milton,  singing  on  in  his  blindness, 
Richard  Baxter,  so  basely  brow-beaten  by  the  infamous 
Jeffries,  Bishop  Ken,  the  non-juror;  Watts  and  Doddridge 
the  two  great  non-conformist  hymn  writers,  the  brothers 
Wesley  pelted,  threatened,  mocked,  yet  distilling  out  of 
their  hearts  sweet  songs,  that  go  chiming  everywhere  like 
silvery  bells,  cheering  death  beds,  giving  courage  to  brave 
men,  and  patience  to  suffering  women;  the  gentle  tortured 
spirit  of  Cowper,  pouring  out,  in  the  intervals  of  his  terrible 
malady,  his  trembling,  but  immortal  song,  and  many  others, 
cot  to  mention  those  great  masters  of  music,  whose  chorals 
have  a  deathless  life.  The  treasury  of  all  the  past  is  ours, 
and  much  of  the  best  of  it  has  come  down  to  us  in  Chris- 
tian song. 

As  in  the  early  autumn,  the  birds  begin  tto  look  from 
the  north  southward,  and  springing  up  from  the  shrubs, 
the  reeds,  and  the  waters,  begin  their  flight,  and  as  they 
wind  their  way  out  of  every  tree  and  copse,  from  orchard 
and  garden  come  forth  new  singers,  increasing  in  number 
at  every  furlong,  until,  at  length,  coming  down  lYom  their 
high  pathways,  they  cover  provinces,  and  fill  forests,  and 
are  heard  caroling  and  triumphing  through  all  the  un- 
frosted  orchards,  amid  all  the  groves,  and  the  vines,  the 
olives,  the  palms,  and  the  oranges  of  the  tropics,  with  their 
wonderous  bursts  of  song.  So,  like  these  birds,  these  sa- 
cred hymns  of  the  past,  whose  nests  have  been  found  in 
every   age,  from   the   very   gray  and  twilight  of  creation, 


Notices  of  New  Publications.  479 

seem  to  have  risen  up,  spread,  and  plumed  tlieir  wings, 
and  flown  down  to  our  day,  and  into  the  pleasant  gardens 
and  vineyards  God  has  given  to  his  Church,  and  their 
sweet  and  heavenly  music,  as  they  flit  from  branch  to 
branch,  filleth  the  Church  with  melody,  comforting  and 
cheering,  as  in  old  time,  the  hearts  of  God's  people,  as  if 
once  again,  the  advent  was  renewed,  and  God's  angels  were 
in  the  air. 


— ♦*- 


AETICLE  XIL 

NOTICES  OP  NEW   PUBLICATIONS. 

Ci/clopcedia  of  BiMical.  Theological  and  Ecdcsiaxlical  Literature, 
Prepared  by  Rev.  John  McCIintock,  D.  D.,  and  James  Strong,  S.T, 
t).  Vol.  III.  New  York:  Harper  and  Brothers.  We  have  already 
spoken  of  this  important  contribution  to  our  religious  literature. 
When  finished,  it  will  lie  the  most  thorough,  compact  and  satisfac- 
tory work  of  the  kind  yet  published.  The  present  volume  exhausts 
tlie  letter  G,  and  three  additional  volumes,  it  is  supposed,  will  com- 
plete the  work.  The  lamented  death  of  the  senior  editor  will  occa- 
sion no  delay  in  the  enterprise.  Its  labors  will  be  carried  on  by  Dr. 
Strong,  with  the  assistance  of  scholars  connected  with  difl'erent  de- 
nominations, and  brought  to  a  speedy  conclusion. 

A  Manual  of  CImrck  History.  By  H.  E.  F.  Guericke,  Doctor  and 
Professor  of  Theology  in  Halle.  Translated  from  the  German.  By 
W.  G.  T.  Shedd,  D.  D.,  Baldwin  Professor  in  Union  Theological 
Seminary.  Andover:  W.  F.  Draper.  This  volume  embraces  Mediae- 
val Church  History,  from  A.  D.,  ,590  to  10.30,  when  Hildebrand,  un- 
der the  name  of  Gregory  VII,  ascended  the  Papal  chair.  Among 
other  topics,  it  discusses  the  diffusion  of  Christianity  among  the 
Gothic,  Scandinavian  and  Sclavic  races;  the  controversies  in  refer- 
ence to  the  two  Wills  in  Christ,  Image  Worship  and  the  Lord's  Sup- 
per, and  the  schism  between  the  East  and  the  West.  In  connection 
Witli  a  former  volume,  which  appeared  in  18.57,  this  edition  gives  an 
interesting  history  of  the  Church,  during  the  first  ten  centuries. 

The  Elements  of  the  Hebrew  Language.  By  Rev.  A.  D.  Jones.  A, 
M.  Andover:  W.  F.  Draper.  This  is  a  work,  which  corresponds, 
in  its  general  arrangements,  with  many  of  the  elementary  text  books 
in  common  use,  and  is  designed  to  facilitate  the  study  of  the  Hebrew 
in  our  classical  schools.  The  language  is  divested  of  many  of  its 
peculiarities  and  difficulties,  and  its  study,  by  a  simple  and  ])rogres- 
sive  series  of  exercises,  is  rendered  comparatively  easy  and  pleasant. 

The  Close  of  the  Ministr;/.  By  Rev.  William  Hanna,  D.  D.,  LL.D. 
The  Passion   Week.     By  Rev.  William  Hanna,  D.  D.,  LL.  D.     New 


480  Notices  of  New  Publications. 

York:  Rohort  Carter  S:  Bros.  Those  arc  the  Ihinl  and  fonrth  vol- 
umes in  this  excellent  series.  Thoy  arc,  like  their  predecessors, 
written  in  a  popular,  intelligible  style,  and  are  free  from  evcrytliing 
like  formal  criticism,  but,  at  the  same  time,  the  best  results  of  mod- 
ern criticism  and  mature  biblical  study  are  presented.  The  author 
has  shown  great  skill  in  grouping  the  leading  events  of  the  Saviour's 
life,  and  exhibits  throughout  a  devout,  evangelical  and  elevated 
spirit. 

Our  Father  in  Heaven:  The  I.ord's  Prayer  explained  and  illustrated. 
A  Book  for  the  Young.  By  Rev.  J.  II.  Wilson,  .N[.  A.,  Barclay 
Church,  Ediid)urgh.  New  York:  Robert  Garter  k  Bros.  This 
book,  prepared  originally  for  the  young,  is  full  of  illustrations  and 
incidents  of  rich  scriptural  truth,  derived  from  this  beautiful  and 
inexhaustible  prayer,  upon  which  so  much  has  been  written. 

Christ  ill  Sonq.  Ht/mns  of  Iinmainie/:  .Selected  from  all  Ages,  with 
Notes.  By  Philip  Schaff.D.  D.  New  York:  A.  D.  F.  Randolph  & 
Co.  To  those  who  are  interested  in  sacred  poetry,  it  will  be  a  satis- 
faction to  learn,  that  this  is  the  fourth  edition  of  this  beautiful  book, 
and  that  it  is  made  to  meet  the  increasing  demand  for  a  cheaper  issue. 
It  contains,  as  already  stated,  the  richest  gems  of  (Jrecian  and  Ro- 
man hymns,  as  well  as  the  finest  specimens  of  German  and  English 
song,  in  the  Church.  The  taste  and  judgment,  displayed  in  the 
arrangement  and  classification  of  the  material,  are  such  as  the  erudi- 
tion and  practical  skill  of  Dr.  Schaff  might  lead  us  to  expect. 

Music  Hall  Sermons.  By  William  tl.  H.  Murray,  Pastor  of  Park 
Street  Church.  Boston:  Fields,  Osgood  &  Co.  These  discourses, 
originally  delivered  before  large  audiences  in  the  Music  Hall,  are  now 
given  in  the  more  permanent  book-form.  Although  not  remarkable 
for  original  or  profound  thought,  they  are  graphic,  and  liave  all  the 
freshness  of  speech,  and  bear  evidences  of  careful  composition.  They 
contain  passages  of  great  beauty,  illustrations  drawn  from  pure  na- 
ture, marked  by  simplicity,  directness  and  earnestness.  Our  criticism 
as  to  the  matter  is,  that  whilst  the  author  presents  most  clearly 
some  of  the  great  and  distinctive  doctrines  of  the  Gospel,  there  are 
utterances,  which  seem  to  us  unguarded  and  latitudinarian.  Some 
of  the  most  instructive  truths  of  the  Rible,  arc  often  kept  too  much 
in  the  background,  or  entirely  ignored. 

Sermons  Preached  in  St  James'  Chapel,  York  Street,  Ijondon.  By 
Rev.  Stopford  A.  Brooke,  !sl.  A.  Boston:  Fields,  Osgood  it  Co. 
Although  these  discourses  are  unequal  in  merit,  they  are  luiusually 
interesting,  and  their  perusal  will  not  disajipoint  the  iiulivi<lual,  who 
has  been  interested  in  the  author's  .Memoirs  of  Rev.  F.  W .  Robert- 
son. They  are  marked  by  originality  and  force  of  thought,  and  by 
freshness  and  clearness  of  expression. 

Sermons  Preached  at  Trinitt/  Chapel,  Brighton.  By  Rev.  Frederick 
W.  Robertson.  In  two  volumes.  Boston:  Fields,  Osgood  &  Co. 
These  volumes  are  among  the  ablest  contributions  to  this  department 
of  literature,  that  these  latter  days,  so  prolific  in  productions  of  this 
kind,  have  produced.  If  the  author  is  not  a  creator,  he  is  certainly 
a  clear  and  successful  interpreter,  of  thought.  If  the  discourses  are 
not  distinguished  by  the  originality  of  their  ideas,  they  arc  pre-emi- 
nent in  their  representations  of  these  ideas.  'J'lieir  richness  of 
thought  and  practical  direction,  their  philosophic  tone  and  elegance, 
their  earnestness  and  power,  fully  sustain  the  high  reputation, 
which  the  author,  as  a  pulpit  orator,  enjoyed. 


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